A 'lyric comedy in one act' first performed at the Teatro
de la Zarzuela in Madrid on 18th February 1898, El señor
Joaquín was initially one of the most popular of all zarzuelas.
Nowadays it is almost forgotten, though it boasts some of Caballero's best work
- notably Trini's haunting alborada ('dawn serenade'), which features
some subtle use of alhambrismo, the decorative moorish/gypsy music which
so attracted Spanish composers of the time. Sorozábal later paid homage to this
lovely number, quoting it in La del manojo de
rosas at the moment where his own hero - another Joaquín - is
mentioned for the first time.

Undoubtedly the famous satirical Coplas ('couplets')
sung by blind beggars, and aimed at the municipal authorities of the day, have
lost most of their bite, but a deeper reason for the zarzuela's neglect is the
distinctly downbeat sentimentality of Romea's little domestic drama. The
conclusion, though crowned by the alborada, is neither uplifting nor
tragic, merely slightly sad. One interesting detail - the title role of
Señor Joaquin, the trusting pater familias of the household, was
first played by the author himself.

Scene 1. Madrid, during the heatwave of August 1897,
on the eve of the verbena of San Joaquín. Following a
Preludio which draws on the main musical themes of the work, the curtain
rises on the back parlour of Señor Joaquín's shop. The grocer has
two women in his life - his second wife Vicenta, and Trini, his daughter by the
previous marriage. Because the two are almost the same age, they are more like
sisters than stepmother and stepdaughter. Just now they are nominally engaged
in housekeeping, whilst Manuel - the personable young man who does the
accounting for Señor Joaquín - busies himself with some
paperwork. Trini indulges in some mocking flirtation with Manuel, until
Señor Joaquín comes in and levity ceases.

He asks Manuel
to hand him an invoice, and is surprised to discover on the back of the paper
some amorous doggerel addressed to "a lovely woman". Manuel respectfully denies
having written them. In fact the verses have been penned by the gawky, foolish
apprentice Chisco, a foundling whom Joaquín has kindly taken in, and who
is hopelessly in love with Trini. She treats the whole thing as a joke and goes
off to help him and her father in the shop.

Left alone together, Manuel
pours out his love to Vicenta, who gently reproaches him and rejects his
advances (Dúo:"Vicenta, yo me muero".) It emerges that
the two were engaged some years ago, before Vicenta met and fell in love with
Señor Joaquín. When her husband surprises the two of them in
intimate conversation, he generously concludes that Manuel must be in love with
Trini, but afraid to speak for himself - a theory which the terrified young man
is quick to go along with. The flustered Vicenta leaves. Joaquín is well
pleased by the prospective match - as is Trini when he calls her in to tell her
the news, though she shows her high spirits by mocking Manuel even more than
usual. Chisco calls "the boss" out to deal with an important customer, leaving
Manuel to haltingly declare his love to Trini. She continues to make fun of him
in their Dúo:"Quien mi cariño pretenda", a clever
sequence of mazurka, tango and zapateado rhythms.
Joaquín reappears and calls for Chisco, who is coming out of the cellar
carrying a pile of tin cans. On hearing of the "engagement" he tumbles down the
stairs in his shock, and the scene ends with the cacophony of the falling
cans.

Scene 2.
The street in front of the shop. It is dusk, and a Chorus of street
sellers are offering their wares - stationery, buttons and hairpins,
flowers and azucarillos or meringues. A band of blind beggars join them
(Chotis de los ciegos:"Pobrecitos degraciados") before launching
into the once-famous Couplets mocking the city authorities
(Coplas: "Cachirulipón en las coplas que canto".) A
policeman tells them all to move on, and after the crowd has dispersed he tells
Joaquín he will return soon to celebrate the shopkeeper's name day.
Trini is also outside, getting some fresh air, and Chisco has time to present
her with a rose before he is called back in by her father. Before the girl can
go back inside, Vicenta appears with Manuel. Trini hides, and overhears the
bookkeeper announce his resolve to leave the shop for good. Not only is he
giving pain to them both, but now he is in danger of breaking Trini's heart. He
feels guilty for using her, and determines not to hurt Trini any more. After
the unhappy Vicenta forgives him, he goes back inside to pack his bags. Trini
steps forward to confront her stepmother, who explains everything and consoles
her, before leading her sadly back into the house. A street band comes in with
a crowd, who dance the lively Polka which ends the scene.

Scene 3. The grocers shop,
that night. A party is in progress to celebrate Joaquín's name day.
Food and drink is served, and Trini takes advantage of the lull to explain to
her father that she doesn't love Manuel after all, but Chisco - a story which
Joaquín finds hard to credit. When Manuel tells him that he wishes to
give his notice and leave immediately, and that his supposed love for Trini was
all a mistake, the shopkeeper's jealous suspicions are finally aroused. Vicenta
reassures him, explaining that Manuel really wishes to leave because he is
ambitious, and work in a shop is no life for him. Joaquín unhesitatingly
believes her, and fondly embraces his wife to everyone's satisfaction. It's
time for music, and Trini offers to sing an alborada she learned whilst
staying in the Galician town of Orense the previous year (Balada y alborada:"Noche pura y
serena"). Choosing his moment, Manuel leaves quietly, spotted only by
Trini who valiantly keeps singing. After he has gone her strength gives out,
and Trini faints into the arms of her stepmother, leaving her song unfinished.
The zarzuela ends abruptly with the guests attributing her collapse to the
heat, and youthful nerves.